Modern, All Too Modern (USA, 1988)
Abstract

This manifesto, echoing both Hollis Frampton’s “For a Metahistory of Film” (see earlier in this chapter) and Guy Debord’s 1967 manifesto Society of the Spectacle—a key influence for Sanborn—draws a line in the sand between the “Visionary Film” school of avant-garde film and the new generation of politically engaged American experimental filmmakers far more interested in the effects of mass culture and dominant ideology than with high art obscurantism. Sanborn also takes issue with those filmmakers and theorists who he sees as having appropriated and diluted Situationist thought, most notably Jean Baudrillard’s concept of simulation and the bête noire of the SI, Jean-Luc Godard.